CNY Playhouse Echoes Tarantino With "Dogs" Adaptation

One can think of several successful stage plays that have been made into more or less equally successful films. Modern works such as "Detective Story", "The Glass Managerie", "Our Town", "Death of a Salesman", and "Who's Afraid of Virginia Woolf" come to mind as having had critical acclaim in their "second lives". And, of course, who hasn't seen filmed versions of at least one or two plays by William Shakespeare? So, historically and artistically, the transition from stage to screen doesn't seem, in most cases, to be a tremendous leap.

Going the other way, however, doesn't seem as "natural" or convenient. That is, given the traditional conventions of filmmaking, combined with the virtually limitless technical possibilities now available, putting a piece written for the screen onto a traditional stage can present a plethora of problems for a director if he/she is looking to replicate similar effects.

Unlike the stage, film has a way of "branding" our consciousness with expectations, especially after repeated viewings. Think of somebody else, other than Marlon Brando, playing the part of Vito Corleone in "The Godfather. Forgetaboutit! How about somebody other than Jack Nicholson in the role of Randle Patrick McMurphy in "One Flew Over the Cuckoo's Nest"? No way.

J. Brazill, who directs the latest production from The Central New York Playhouse, has adapted "Reservoir Dogs", a breakthrough film from 1992, that was written and directed by Quentin Tarantino, into a two-act, one-hour-and 45-minute onslaught of violent behaviors and brash, in-your-face verbosity that does a pretty good job of telling the original story much the way it was told in its screen version.

The plot is simple: thieves plot to steal stuff. But this plot doesn't involve the crime, itself, very much, but rather, the after effects, mentally and physically, of the criminal act.

Six criminals with reputations, but unknown to each other, are gathered together by seasoned professional Joe Cabot (John Brackett) and his son, Eddie (Joel Miscione) to pull off a large diamond heist. In order to protect their identities, he issues them color coded names: Mr. White (Jim Uva), Mr. Pink (Dan Rowlands), Mr. Orange (Jordan Glaski), Mr. Blonde (Andrew Brazill), Mr. Brown (Navroz N. Dabu, and Mr. Blue (Gabriel Infantino).

Played on what is essentially a single set, handily designed by Navroz Dabu, locations are metered out sparingly with the central set of the warehouse, replete with graffiti, wall drawings, and an abundance of industrial detritus, occupying most of the stage. Side locations of a restaurant table at stage left and the ringleader's office at stage right complete the realistic set.

True to the pacing of the film, time sequences operate in reverse with the planning scene in the restaurant and the immediate aftermath of the robbery being played out before the days and events leading up to the crime. Much of Act II serves as a series of flashbacks, providing exposition that helps us understand the characters' motivations and backgrounds.

One of the most interesting aspects of the piece is how individuality of character behavior is drawn from Tarantino's well-honed dialogue that effectively balances the kinetic energy and bombast. This ensemble delivers the nuances necessary to create individuals, despite the signature monochromatic costume recipe of dark suits and ties, white shirts, and of course, the sunglasses.

Every character is provided with singular moments from Mr. Brown's outburst of obscenities over breakfast about Madonna and the meaning of "Like a Virgin", to Mr. Blonde's orgiastic torture scene when he cuts off the ear of a cop (Patrick Kelly) he kidnapped during the robbery, and threatens to incinerate him with gasoline and a lighter.

Glaski's Mr. Orange, somewhat of a central character, has several moments when we learn his real function in the group as different from his partners, while much verbal comedy is effectively honed by Brackett's gruff, no-nonsense ringleader, Cabot.

Like the film, comic voiceovers and musical interludes between scenes help establish the play's pace, while the off-handed, understated character commentary helps diffuse some of the gut-wrenching activity that is being played out. This Tarantino balancing act of the comic off-setting the serious comes through clearly in this stage adaptation.

The Central New York Playhouse presents a stage adaptation of the film "Reservoir Dogs" from November 1 through 9, 2013 as a "screen to stage" fundraiser at their theater on the second floor of Shoppingtown Mall, Dewitt. For tickets, times, and information: 315-885-8960 and www.cnyplayhouse.com